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EDITORS’ NOTES

With his usual scrappy aplomb, Iggy Pop comes to terms with ‘80s-style glitz on Blah Blah Blah. This 1986 release reunites Iggy with old comrade David Bowie, who as co-producer steers things in a direction similar to his own Let’s Dance. The tracks are defined by cool keyboard gloss and relentless programmed rhythms, scuffed up in spots by ex-Sex Pistol Steve Jones’ guitar thrusts. Mature expressions like “Fire Girl” and “Cry for Love” suggest Pop has outgrown the drooling lust of his Stooges days. “Hideaway” and “Shades” are thoughtful swipes at trendy materialism. On the more manic side are “Winners & Losers” (an outraged howl crackling with sexual envy) and the title track (a revved-up screed ripping into everything from Shimon Perez to “petrified food”). “Real Wild Child (Wild One),” a thumping remake of rockabilly artist Johnny O’Keefe’s 1958 hit, serves as a reassertion of Iggy’s rebel credentials. Overall, Blah Blah Blah plays to the mainstream while offering enough subversive elements to please a committed Pop partisan.

EDITORS’ NOTES

With his usual scrappy aplomb, Iggy Pop comes to terms with ‘80s-style glitz on Blah Blah Blah. This 1986 release reunites Iggy with old comrade David Bowie, who as co-producer steers things in a direction similar to his own Let’s Dance. The tracks are defined by cool keyboard gloss and relentless programmed rhythms, scuffed up in spots by ex-Sex Pistol Steve Jones’ guitar thrusts. Mature expressions like “Fire Girl” and “Cry for Love” suggest Pop has outgrown the drooling lust of his Stooges days. “Hideaway” and “Shades” are thoughtful swipes at trendy materialism. On the more manic side are “Winners & Losers” (an outraged howl crackling with sexual envy) and the title track (a revved-up screed ripping into everything from Shimon Perez to “petrified food”). “Real Wild Child (Wild One),” a thumping remake of rockabilly artist Johnny O’Keefe’s 1958 hit, serves as a reassertion of Iggy’s rebel credentials. Overall, Blah Blah Blah plays to the mainstream while offering enough subversive elements to please a committed Pop partisan.

TITLE

TIME

Real Wild Child (Wild One)

3:40

Baby It Can't Fall

4:14

Shades

5:57

Fire Girl

3:33

Isolation

4:36

Cry for Love

4:28

Blah-Blah-Blah

4:32

Hideaway

5:01

Winners & Losers

6:18

Little Miss Emperor

3:50

10 Songs, 46 Minutes

Released: Jan 1, 1986

℗ 1986 UMG Recordings, Inc.

About Iggy Pop

There's a reason why many consider Iggy Pop the godfather of punk: every single punk band of the past and present has either knowingly or unknowingly borrowed a thing or two from Pop and his late-'60s/early-'70s band, the Stooges. Born on April 21, 1947, in Muskegon, Michigan, James Newell Osterberg was raised by his parents in a trailer park close to Ann Arbor, in nearby Ypsilanti. Intrigued by rock & roll (as well as such non-musical, monotonous, and mechanical sounds as his father's electric razor and the local automobile assembly plants in Detroit), Osterberg began playing drums and formed his first band, the Iguanas, in the early '60s. Via the Rolling Stones, Osterberg discovered the blues and formed a similarly styled outfit, called the Prime Movers, upon graduating from high school in 1965. When a brief stint at the University of Michigan didn't work out, he moved to Chicago instead, where he played drums alongside the city's bluesmen.

His heart remained with rock & roll, however, and shortly after returning to Ann Arbor, Osterberg decided to form a rock band. This time, he would leave the drums behind and be the frontman, taking inspiration from the likes of the Velvet Underground's Lou Reed and the Doors' Jim Morrison. He tried to find musicians who shared his musical vision: to create a band whose music would be primordial, sexually charged, aggressive, and repetitive (using his early electric razor/car plant memories for reference). In 1967, he hooked up with an old acquaintance from his high-school days, guitarist Ron Asheton, who also brought along his brother, drummer Scott, and bassist Dave Alexander, thus forming the Psychedelic Stooges. Although it would take a while for their sound to gel -- they experimented with such nontraditional instruments as empty oil drums, vacuums, and other objects before returning to their respective instruments -- the group fit in perfectly with such other high-energy Detroit bands as the MC5, becoming a local attraction. It was around this time that the group shortened its name to the Stooges, and Osterberg changed his own stage name to Iggy Pop. With the name change, Pop became a man possessed on-stage, going into the crowd nightly to confront members of the audience and working himself into such a frenzy that he would be bleeding by the end of the night from various nicks and scratches. Elektra Records signed the quartet in 1968, issuing their self-titled debut a year later and a follow-up effort, Fun House, in 1970. Although both records sold poorly upon release, they've since become rock classics, and can be pointed to as the official catalyst for what later became punk rock.

The Stooges were dropped from their record company in 1971 due to the public's disinterest and the group's growing addictions to hard drugs. Pop's continuous death-defying acts also worried the label, whose decision to drop the band led to the Stooges' breakup the same year. One of the band's more celebrated fans, David Bowie, tracked Pop down and convinced the newly clean and sober singer to restart his career. Pop enlisted guitarist James Williamson (who was briefly a second guitarist for the Stooges before their breakup) and, after the pair signed to Bowie's Mainman management company and relocated to England, they eventually reunited with the Asheton brothers, with Ron moving from the six-string guitar to the bass. Signed by Columbia Records and hoping to follow in Bowie's footsteps toward a major commercial breakthrough, the Stooges penned another punk classic, the brutally explosive Raw Power. Pop's plan for the Stooges' third release was equally brutal; he wanted to create a record that would be so powerful, so sonically over the top, that it would physically hurt the listener as it poured forth from the speakers. Although the resulting album wasn't quite that extreme, it came fairly close, with Bowie lending his own contributions as the album's producer. Once again, the album sank without a trace. By 1974, Pop and most of the Stooges had fallen back into the world of heavy drugs, and with their star fading, the band called it quits for a second (and final) time.

After spending a brief spell homeless on the streets of Hollywood, during which time there was an unsuccessful attempt to form a band with Pop and former Doors keyboardist Ray Manzarek, Iggy Pop checked himself into the Neuropsychiatric Institute in Los Angeles. During his stay at the hospital, Pop made an attempt at writing and recording some new tunes with Williamson, but when no labels expressed interest, the two went their separate ways. (Completed demos of the sessions would surface on the Kill City release in 1977; they would also appear on the 2005 compilation Penetration, which featured a number of widely circulated demos, outtakes, and alternate mixes from the Raw Power sessions.) During his hospital stay, another old friend came to visit him: David Bowie, whose career was still in high gear. Bowie offered to take Pop on the road with him during his tour in support of Station to Station, and the pair got along so well that they both moved to Berlin in late 1976, during which time Bowie helped Pop secure a solo record deal with RCA. Bowie had become interested in European electronic rock (Kraftwerk, Can, etc.) and later admitted that he used Pop as a musical guinea pig on such releases as The Idiot and Lust for Life (both issued in 1977 and produced/co-written by Bowie). Both albums sold better than the singer's previous efforts with the Stooges (particularly in the U.K., where Pop was looked upon as an icon by the burgeoning punk rock movement) as Bowie joined Pop on his world tour as a keyboardist. Shortly thereafter, a surprisingly muddy-sounding live album was culled from Pop's most recent tour, titled TV Eye (1977 Live). It was also around this time that Pop severed his ties with Bowie and struck out on his own.

Signing on with another new label, Arista, Pop reunited once more with James Williamson for 1979's New Values, an album that touched off a string of releases that were largely inconsistent and musically confused (it appeared as though Pop was trying to reinvent himself as a new waver): 1980's Soldier, 1981's Party, and 1982's Zombie Birdhouse. Also in 1982, Pop penned his autobiography, I Need More, a fascinating book of rock & roll excess that chronicled his early years straight up to the then-present day. Despite the flurry of activity, Pop began succumbing to his vices once again and stepped out of the spotlight for a long stretch to sort his life out, during which time Bowie scored a massive hit with a remake of the Pop/Bowie nugget "China Girl" (recorded earlier on Pop's The Idiot). It wasn't until 1986 that Pop resurfaced, signing a new contract with A&M and issuing the Bowie-produced Blah Blah Blah, which featured his first U.S. hit single (albeit a moderate one), a cover of "Real Wild Child." Released in 1988, Instinct saw Pop try his hand at hard rock/heavy metal, joined by ex-Sex Pistols guitarist Steve Jones, but it wasn't until 1990's Brick by Brick (his first album for Virgin Records) that Pop fully regained his musical strength and focus, resulting in his first U.S. gold-certified album and Top 20 hit single, "Candy," a surprisingly tuneful duet with the B-52's' Kate Pierson.

Just as in the mid-'70s when Pop was looked up to by a slew of up-and-coming punk bands, history repeated itself in the early '90s with the emergence of such Stooges disciples from Seattle as Nirvana, Mudhoney, Soundgarden, etc. Around the same time, a wide variety of bands covered Pop and/or Stooges tracks -- Slayer, Duran Duran, Guns N' Roses, R.E.M., and Tom Jones -- while Pop issued another fine solo set, 1993's American Caesar. Although Pop attempted to re-create the Stooges' sound and approach on his 1996 solo album Naughty Little Doggie, it wasn't as critically or commercially successful as his previous couple of releases. But the same year, Pop enjoyed another hit when the nearly 20-year-old title track from Lust for Life was used prominently on the hit movie soundtrack Trainspotting. Throughout the decade, Pop also tried his hand at acting in movies, scoring bit parts in such flicks as Cry Baby, Dead Man, and The Crow II: City of Angels, plus a recurring role on the TV show The Adventures of Pete & Pete. Although he wasn't involved in it, the 1998 movie Velvet Goldmine was allegedly based on Bowie and Pop's relationship in the early '70s (Ewan McGregor's character, Curt Wild, was obviously patterned after Stooges-era Pop).

With just about every new rock band listing the Stooges as a major influence by the late '90s, Iggy tentatively began looking back to the band's legacy. He personally remixed a newly remastered version of Raw Power in 1997, after the long-lost original master tapes were rediscovered and Pop moved the album closer to his original vision of a total sonic onslaught. Also released around this time was another Pop/Stooges-related book, the must-read Please Kill Me: The Oral History of Punk, which recounted the Stooges' career in great detail (featuring interviews with all the band's surviving members). The year 1999 was a busy one for Pop as he was the subject of a VH1 Behind the Music episode, and a new solo album was issued, the laid-back Avenue B. But his more "refined" musical approach was strictly a detour, as proven by his next release, 2001's in-your-face rockfest Beat Em Up.

After abandoning a promised Stooges reunion in the late '90s, Pop finally made good on his pledge in 2003, bringing Ron Asheton and Scott Asheton aboard to write and record four songs with him for his album Skull Ring, and taking the reconstituted Stooges on the road for a short but riotously received tour (with Mike Watt standing in for the late Dave Alexander on bass, and with the set dominated by tunes from The Stooges and Fun House). In 2004, Iggy appeared in Jim Jarmusch's Coffee and Cigarettes. After issuing the January 2005 effort Penetration, Pop released the retrospective A Million in Prizes: The Anthology, which spanned his entire career and included a 37-track CD, a previously unreleased live DVD, and a round of essays about Pop's legacy penned by notables like Bowie and Lou Reed. Pop released another compilation, Where the Faces Shine, the following year.

Iggy Pop maintained his profile during the subsequent years by appearing on an album by Praxis, singing on the Teddybears track "Punkrocker," performing several Madonna songs at the induction ceremony of the Rock & Roll Hall of Fame, and appearing in TV advertisements for the British insurance company Swiftcover. Back in Ann Arbor, however, Asheton suffered a fatal heart attack in early 2009, robbing Pop of his best friend and plunging the Stooges' career into instability. Nonetheless, Pop released another solo record, Preliminaires, that May, taking his inspiration from jazz music and the work of French novelist Michel Houellebecq. In 2010, Pop and the rest of the Stooges were inducted into the Rock & Roll Hall of Fame.

Iggy continued to tour with the Stooges throughout 2010 and into 2011, taking time to pursue a couple of solo side projects, including singing with the Lilies and with Ke$ha, plus the 2012 album Apres, where he sang French standards (and the Beatles' "Michelle," which does have a verse in French). In 2013, Pop went full-bore with the Williamson-fueled Raw Power era of the Stooges, touring and releasing the Ready to Die album in April of that year. However, after the death of Stooges drummer Scott Asheton in 2014, it was widely speculated that Iggy was done with the Stooges, and the next time he set out on a tour of the United States in 2015, it was as a solo artist with a different backing band.

In January 2016, a surprise announcement from Pop and Josh Homme (Queens of the Stone Age, Eagles of Death Metal) revealed that the pair had written an album together with the help of Dean Fertita (QOTSA, the Dead Weather) and Matt Helders (Arctic Monkeys). Recorded secretly and funded entirely independently, Post Pop Depression (Loma Vista) featured the single "Gardenia" and a short supporting tour with live backing from Troy Van Leeuwen (QOTSA) and Matt Sweeney (Chavez). ~ Greg Prato